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(b Florence, c. 1644; d Florence, June 22, 1713).

Italian sculptor, stuccoist and architect. After training in Florence as a goldsmith, he studied with the painter Felice Ficherelli. In 1671 he went to Rome, having been chosen for the Tuscan Accademia Granducale. He studied sculpture under Ercole Ferrata and Ciro Ferri, showing a predilection for modelling rather than the marble carving expected by his patron, Cosimo III de’ Medici, Grand Duke of Tuscany. In 1672 he won first prize at the Accademia di S Luca for a terracotta relief of Decaulion and Pirra. He modelled the angels (1673–4) for the ciborium at the Chiesa Nuova (S Maria in Vallicella), which was designed by Ferri and cast by Stefano Benamati, and a terracotta relief of the Fall of the Giants (1674), pendant to a Niobid relief by Giovanni Battista Foggini (both Florence, Mus. Opificio Pietre Dure). When recalled to Florence in 1676, he was working on a more than life-size marble bust of ...

(fl Braga, 1692–1717; d Braga, 1720).

Portuguese cabinetmaker and metalworker. The most outstanding characteristic of his documented works—all commissioned by religious institutions—is his use of pau preto (Brazilian rose-wood), either solid or thickly veneered on to chestnut, worked em espinhado (in a herring-bone pattern) decorated with parallel grooves, mouldings and, more rarely, with almofadados (pillow panelling). In the contracts signed by Marques with the chapter of Braga Cathedral and various convents and Misericórdia churches in northern Portugal he is referred to as the enxamblador da Cónega (joiner) responsible for executing both the woodwork and decorative metalwork of the furniture commissioned. The application of pierced and gilded brass plaques in the form of borders, rosettes in relief, enormous escutcheons and impressive handles is a constant feature of his work. He played an important role in northern Portuguese furniture-making for the uniformity of his production. He specialized in balustrades, for example those for the pulpit of the Misericórdia church in Vila do Conde (...

(fl c. 1694–1716).

Italian sculptor, stuccoist and medallist. He worked in southern central Italy, where he is documented as both Pietro Papaleo and Francesco Papaleo, and then in Rome, where his presence is well documented from 1694, when he was elected a member of the Accademia di S Luca, until 1716. His marble work is influenced by Lorenzo Ottoni, who was an accomplished portrait artist in the manner of Bernini. He is presumed to have worked in Naples, where his Victory of St Paul (1688) is in the chapel of S Gennaro in the cathedral. In 1696, with Camillo Rusconi, he was commissioned to make four angels for the chapel of S Ignazio in the church of Il Gesù, Rome, but was replaced by Ottoni and Francesco Moratti because of conflicting contractual obligations (to Cardinal Pietro Ottoboni). His work as a stuccoist included collaborating with Ottoni to make five putti to accompany an ...

The reign of Queen Anne (1702–14) was not of particular significance for the decorative arts in England, except in the area of Huguenot silverware. In England the style of this period is now usually described as late Baroque rather than Queen Anne; in America, however, the term ‘Queen Anne’ is used to describe the decorative style of objects made from the mid-1720s to ...